Semiotics in the hottest Design II

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Under the semiotics of characters in the design,

four Chinese characters starting from official script and even seal script have been difficult to be directly linked with pictograms. Perhaps learned calligraphers will be excited by the concrete factors contained in Chinese characters, but they should realize that these things similar to appendixes are just traces left after the failure of early character experiments. For those calligraphers who take it for granted, they'd better know that writing the word "dance" as a dancing beauty has nothing to do with the original figure of "dancing with oxtail". If they prefer to paint characters, why don't they just paint human bodies from life

as mentioned above, there have been two misappropriations in the construction of Chinese characters. The first is to misappropriate images into words, and the second is to misappropriate pictographs into notes, symbols or marks. Now we know that the formation of Chinese characters in the mature period basically has no pictographic status. Empirical research shows that "after the formation of a complete character system of Chinese characters, most of the newly added characters are differentiated from the existing characters by adding or changing the radicals." [23] because they wanted to match language, Chinese characters finally gave up their attempt to illustrate the world. However, Chinese characters are indeed not slaves of pronunciation. As a system as perfect as Pinyin characters, Chinese characters not only have unique rules of character formation, but also have unique modeling potential

Chinese characters write how to compete in many experimental markets, but there are only two kinds: when manufacturers of products and service machines choose the experimental machines produced by Jinan Shijin? It is very troublesome, but its partial parts, components and strokes are limited, and the stroke order is also certain. The order achieved by the Chinese character symbol system is amazing, but it is difficult to express it clearly. Wang Xizhi's "preface to Lanting" established a model of running script. This calligraphy book did not contain enough Chinese characters, but its copyists could be extended to write every Chinese character as Wang's running script. The orderliness of the calligraphy system is undoubtedly based on the high orderliness of the Chinese character system. Calligraphers' calligraphy and accountants' letters, brush calligraphy and hard calligraphy, traditional Chinese characters and simplified Chinese characters, they can maintain a certain continuity, not because they are arbitrary character paintings, but because they are the writing of their own systematic character symbols. English word formation undoubtedly has some understandable order, but it has no direct connection with the writing of 26 letters. In the process of copying and printing, letters can also write beautiful styles, but every time they change as a whole, after all, they can only cause 26 visual differences

the history of Chinese characters is only 3300 years, [24] but this 3300 year history is the history of continuous writing in the same language. From ancient characters to Li, Kai, Xing, Cao, no matter from the font, font, or from the style of characters, every new difference is built in subtle similarities with the past. The history of calligraphy is far more tolerant than that of philology. It contains not only the right things, but also the wrong things. In writing for the purpose of art rather than practicality, words have the right to become indistinguishable from language. In the process of matching Chinese characters with language, a highly ordered system of radicals and strokes has been developed. Even if this system is separated from Chinese, it still has the charm of Chinese characters. Japanese calligraphy and Xu Bing's heavenly script are all of this type. They are not calligraphy because they match the Chinese language, but because they are systematically similar to Chinese characters in history. Magnifying a single Chinese character and kneading the written words into a word ball seem to deviate from the tradition. In fact, they are just based on the tradition

of course, creating in tradition is completely different from using tradition to create. Anyone with a clear eye can see that the ancestors have also been recognized by foreign enterprises. The things handed down by the ancestors, like the species of wild animals, are leaving us day by day, hour by hour

the calligraphy theory of May Day often summarizes the achievements of calligraphy from the perspective of aesthetic characteristics. This paper does not deny the significance of this exploration. However, when we focus too much on the "beauty" of calligraphy or the "aesthetic experience" aroused by calligraphy, we often ignore the simple connection between calligraphy and writing

we think calligraphy is artistic, but writing is practical, but speaking of the first, calligraphers are just one of the endless writers. The calligrapher is independent only because he wrote a certain font to the extreme, which makes it have exemplary significance. People often understand models in the sense of "eternity" or "beyond time and space", but they don't realize that a more simple meaning of models is "models". Confucius is an example of personality, and Yan ti is an example of calligraphy. "Peaches and plums speak for themselves, and the next is a strange thing.". Without the "masses" competing to follow suit, how can high-rise buildings go up alone

calligraphers never come out of nowhere. Long before Calligraphers' calligraphy [25] came into being, Chinese characters had formed their own form on the basis of collective writing. In order to write Chinese and Chinese characters, both anonymous and calligraphers have to obey the rules of Chinese characters first. Chinese characters are a highly ordered symbol system. In principle, if you want to grasp the shelf structure of a word, you have to grasp the shelf structure of all words. Calligraphers who can only draw their own names all their lives have never heard of it, and they are also extremely ridiculous

semiotic aesthetics is concerned with the order of Chinese characters and calligraphy. Recognizing that the beauty of calligraphy depends on the order of the Chinese character symbol system will not weaken our evaluation of the originality of calligraphy artists. Under the influence of western traditional aesthetics, we regard the creator's ecstasy as too mysterious. Many people feel that there is an "aesthetic experience" at work, which is completely different from daily experience, both in the author and the reader. However, to use "aesthetic experience" in general will not increase artistry, but will corrupt the specific and weak artistic feeling. In contrast, the ancients who used "dragon jumping over the gate of heaven", "peak falling stone" and "Xia Yun Shujuan" to describe calligraphy, on the contrary, were closer to the thing itself

we often understand aesthetic experience as subjective feelings. However, good sense is always reflected in the process of getting on well with things. Great calligraphers are not only good at dealing with pen, ink, paper and inkstone, but also good at dealing with Chinese characters. Now we know that Chinese characters, as the basic modeling "material" of calligraphy, are neither pictographic pictures nor abstract patterns, but a set of highly abstract and systematic symbols. Chinese characters are a kind of symbol for philologists, but a kind of material for calligraphers. Calligraphers do not care about how to grasp the symbolism of words in theory. What they care about is how these symbolic words can be vividly displayed perceptually by the electro-hydraulic servo message universal experimental machine, which is widely used in the dynamic and static mechanical property experiments of materials and parts. Just as the rose will not be exhausted by its signifier (love), in the cultural life form of writing as beauty, the signifier of words will not be exhausted by its signifier - while people understand the meaning of words, they also stay on the surface of words, thinking about how to write better

however, in this era, Chinese characters are increasingly becoming a sign that simply serves language. Although digitalized Chinese characters retain all kinds of fonts, and even all kinds of calligraphy styles, today's public do not intend to copy them, but prefer to consume them like word pickers. Both the five stroke type and the Pinyin input method rely on a certain retrieval system to pick out the prepared Chinese characters one by one. Writing Chinese characters with a pen is not so ready-made. The person who writes not only cannot miss every stroke, but also has the possibility of victory or death in every stroke. A calligrapher is a writer who strives for perfection. Unlike a word picker, he never regards Chinese characters as ready-made consumable materials, but as uncertain things that need to be formed repeatedly. Words are the material used by calligraphers, but good calligraphy works not only "will not make the material disappear, but also make the material appear" [26]. The goldsmith's task is to make the metal shine, the painter's task is to make the paint shine, the poet's task is to make the sound loud and audible, and what is the calligrapher's task

when the computer keyboard destroyed the vast folk soil on which calligraphy grew, Chinese and Chinese characters did not die with it, but the activity of writing Chinese has ended in a sense. On the one hand, Chinese characters have become more and more like pure signs. On the other hand, calligraphy has become more and more like images separated from language. These are two aspects of one thing. (text/Chen anying)

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